Shakespeare 400

Home , Three Shakespeare Songs

SHAKESPEARE 400

December 11, 2016 1:30pm • 4pm • 7pm First Congregational Church 1609 University Avenue, Madison Contents

3 From the Directors

6 MYC Staff and Board of Directors

6 Sponsors

Program Notes 7 1:30pm | Sunday, December 11, 2016 Choraliers, Con Gioia, Capriccio, Cantilena, Cantabile

15 4:00pm | Sunday, December 11, 2016 Purcell, Britten, Holst, Ragazzi

21 7:00pm | Sunday, December 11, 2016 Cantilena, Ragazzi, Cantabile

31 Special Guest Artists

34 MYC Members

40 Friends and Donors

2 From the Directors Special Thanks Our winter concert series, now named the Diane Ballweg Winter Concerts, has been permanently endowed by Diane Ballweg. Her incredible gift supports the production costs of presenting a winter concert series (facility rental, guest musicians, music) This semester, as a way of taming what we feared could become a sprawling, each year in perpetuity. We are grateful to Diane for her long-time support of MYC. unwieldy curriculum (Shakespeare is huge!), we wrote three very specific outcomes If you are interested in learning more about creating a concert endowment, please for what our singers could learn from an intentional focus on the Bard. For fun, contact us. We’d love to talk to you more about how an endowment gift can make a we challenged ourselves to write them not only in Elizabethan style, beginning significant impact on the wonderful young musicians you will hear today. with a Shakespearean style interjection, but also in iambic pentameter! Hark! There’s music in these words! (Students will identify what’s “musical” in Shakespeare’s language, using the Please Note Elements of Music (melody, harmony, rhythm, timbre, texture, dynamics, form.) Every MYC concert is recorded, and each concert represents the extraordinary effort Scholars have often remarked on the “musical” quality of Shakespeare’s and hard work of our young musicians. We want them to remember their performance style. What does this mean exactly? Practicing our “expert noticer” skills, for its artistry, not its interruptions. we discovered Shakespeare’s careful construction of a sonnet (FORM); his intentional use of iambic, trochaic, and other meters (RHYTHM); and the clever Please silence or turn off all electronic devices. And if you are attending with young use of vowel sounds and consonants (assonance and alliteration) (TIMBRE, children and they are having trouble enjoying the concert quietly, please consider TEXTURE). Even the natural rise and fall of his language, and choosing stepping out into the lobby. words of a certain length for their effect, show his ear for MELODY. Thank you for your cooperation. Out, out—unfold the myst’ries of a man! (Students will recognize examples of Shakespeare’s keen psychological insight, Madison Youth Choirs • P.O. Box 5233 Madison, WI 53705 • 608-238-SING (7464) madisonyouthchoirs.org and his understanding of the human condition, with both its foibles and virtues.) Singing multiple settings of the same text, such as “Blow, Blow, Thou Winter Wind” helped students to consider the “sticking power” of these texts over centuries. Why do they still inspire, four hundred years later? What is it that Shakespeare understood about human nature, both its goodness and its potential for cruelty? What does Shakespeare show us about ourselves?

Forsooth, I know it’s hard, but tell me why it matters. (Students will develop resilience and patience toward the hard work of artistic excellence, recognizing that masterpieces do not necessarily reveal their treasures quickly or easily.) Every time we encounter some complexity, some artistic detail that is hard to perform or understand, or some hidden layer that needs unpacking (which is a characteristic of all great art), we face the question: is the extra work worth it? We are building resilience in our ability to tackle things that are challenging. We discussed the difficulties and impatience that some people have toward Shakespeare, and whether all the hard work to understand the Bard is really worth the trouble. We haven’t forgotten about Shakespeare’s musical contemporaries, either—you’ll hear music by them today as well. And to really set the scene for a little time-traveling back to the 16th century, we’ve invited a special guest artist, Brandon Acker, to play some interlude music on the popular instrument of Shakespeare’s time, the lute. —The artistic staff of Madison Youth Choirs 4 Staff and Board of Directors

MYC Staff Michael Ross...... Artistic and Executive Director | Conductor Lynn Hembel...... Managing Director Nicole Sparacino...... Development Director Lisa Kjentvet...... Education and Outreach Coordinator | Conductor Alyssa Gunsolus...... Program Services Coordinator Ian Disjardin...... Rehearsal Coordinator Calli Ingebritsen...... Instructor Jingwen Fan...... Accompanist Margaret Jenks...... Conductor Andrew Johnson...... Accompanist Steve Radtke...... Accompanist Marcia Russell...... Conductor Jess Salek...... Accompanist Margaret Stansfield...... Instructor Randal Swiggum...... Conductor Yanzel Rivera-Otero...... Bolz Center Intern Emily Dimond...... Artistic Administrative Assistant

Board of Directors Dan Sinclair, Julie Verban, past president President Gabe Benghiat, ex-officio Michelle Kruse Daniel Lyons, Teague Mawer Vice-President Elizabeth Odders-White Penny Patterson David Schmiedicke, Kris Rasmussen Treasurer Cheryl Rowe Laurie Fellenz, Mae Saul, ex-officio Secretary Brian Tennant

Thank You to Our Sponsors! This concert is generously endowed by the Diane Ballweg Performance Fund. Additional support for our 2016-2017 season comes from:

Diane Ballweg Performance Fund Capital Times Madison The Brittingham Fund Kids Fund South Rotary The Courtier Foundation, Inc. 6 CHORALIERS

Hey Ho! To the Greenwood William Byrd (c. 1543–1623) William Byrd was an English composer of the Shakespearean age who wrote church, consort and vocal music. Considered Queen Elizabeth’s favorite composer, he is best known for his development of the English madrigal. This hunting canon was first published by Thomas Ravenscroft in the English collection of vocal rounds and canons entitled Pammelia, the first collection of its type, in 1609. SHAKESPEARE Spirits Douglas Beam 1:30p.m. Sunday, December400 11 No Shakespearean comedy offers such a feast of magic, humor, music and spectacle as A Midsummer Night’s Dream, the play upon which this song is based. Boundaries First Congregational Church between reality and illusion are blurred in a nocturnal forest, where magic swirls through the dreams of lovers, and charms are cast on actors rehearsing a play. The themes of magic and dreams are portrayed in the composer’s two melodies, the first sung by the forest spirits and the second by the dreamers, which are later superimposed with a descant. CHORALIERS Lisa Kjentvet, conductor Orpheus With His Lute Ralph Vaughan Williams (1872–1958) Steve Radtke, piano Orpheus with his lute made trees, And the mountain tops that freeze, Bow themselves when he did sing: CON GIOIA To his music plants and flowers Marcia Russell, conductor Ever sprung; as sun and showers Jingwen Fan, piano There had made a lasting spring. Everything that heard him play, Even the billows of the sea, Hung their heads, and then lay by. CAPRICCIO In sweet music is such art, Lisa Kjentvet, conductor Killing care and grief of heart Steve Radtke, piano Fall asleep, or hearing, die. (Henry VIII, Act 3, Scene 1) Orpheus was the great musician in Greek mythology that could entrance all of nature, even wild beasts, with the beauty of his singing and lute playing. Music played an CANTILENA integral role in Shakespeare’s writing, not only in the poetry of the language itself, Marcia Russell, conductor with its rhythm and rhyming sequences, but the richness of musical references and Jingwen Fan, piano the inclusion of songs in the Bard’s plays. This delightful poem was inspired by the Greek myth and appeared as a song in Henry VIII, when Queen Katherine asks her serving woman to sing and disperse her troubles. Vaughan Williams, one of the most celebrated English composers of the early 20th century, set the poem to this CANTABILE beautifully crafted melody that uses a simple three-note melodic motif: the interval of Michael Ross, conductor a third followed by a major second. Jess Salek, piano

8 Double, Double Toil and Trouble Leeann Starkey Tu-whit; Tu-whoo, a merry note, While greasy Joan doth keel the pot. Round about the cauldron go; (Love’s Labour’s Lost, Act 5, Scene 2, WINTER) In the poison’d entrails throw. Swelter’d venom sleeping got, At the conclusion of William Shakespeare’s Love’s Labour’s Lost, there are two songs Boil thou first in the charmed pot. debating the joys of the seasons, spring and winter. While the joys of spring include Double, double toil and trouble; flowers and the cuckoo seem obvious, the joys of winter are also well-represented. Fire burn and cauldron bubble. Indeed, colds, coughs and frozen temperatures are matched with the pleasantries of roasting crabapples and sitting close to the fire. In this musical setting by David Fillet of a fenny snake, Lantz, these joys are represented in the light-hearted melody, the major mode and the In the cauldron boil and bake; changing meter. Eye of newt and toe of frog, Wool of bat and tongue of dog. from Three Shakespeare Songs Toby Young (c. 1990) Adder’s fork and blind-worm’s sting, Orpheus with his Lute Lizard’s leg and owlet’s wing, You Spotted Snakes Add thereto a tiger’s chaudron, For the ingredients of our cauldron. (Macbeth, Act 4, Scene 1) Orpheus with his lute made trees And the mountain tops that freeze Double, Double Toil and Trouble is the song of the witches from Macbeth, one of Bow themselves when he did sing: Shakespeare’s darkest and most famous tragedies. Imagine the setting of a cavern To his music plants and flowers with a cauldron boiling and the sound of thunder in the background. The mysterious Ever sprung; as sun and showers witches, who have prophesied Macbeth’s ascent to the throne of Scotland, chant this There had made a lasting spring. haunting rhyme while brewing a potion. Their spells cause Macbeth more harm than Every thing that heard him play, good, for he suffers a grisly fate at the end of the play. Even the billows of the sea, Hung their heads and then lay by. Lute Mr. Dowland’s Midnight • John Dowland (1563–1623) In sweet music is such art, Killing care and grief of heart Fall asleep, or hearing, die. (Henry VIII, Act 3, Scene 1) CON GIOIA You spotted snakes with double tongue, Thorny hedgehogs, be not seen; Newts and blind-worms, do no wrong, Come not near our fairy queen. When Icicles Hang By The Wall David Lantz III Philomel, with melody When icicles hang by the wall Sing in our sweet lullaby; And Dick the shepherd blows his nail Lulla, lulla, lullaby, lulla, lulla, lullaby: And Tom bears logs into the hall Never harm, And milk comes frozen home in pail, Nor spell nor charm, When blood is nipp’d and ways be foul, Come our lovely lady nigh; Then nightly sings the staring owl, So, good night, with lullaby. Tu-whit; Tu-whoo, a merry note, Weaving spiders, come not here; While greasy Joan doth keel the pot. Hence, you long-legg’d spinners, hence! Beetles black, approach not near; When all aloud the wind doth blow Worm nor snail, do no offence. (A Midsummer Night’s Dream, Act 2, Scene 2) And coughing drowns the parson’s saw And birds sit brooding in the snow The Shakespeare Birthplace Trust of Great Britain hosted celebrations of And Marian’s nose looks red and raw, Shakespeare’s 400th anniversary throughout the year. One of those celebrations When roasted crabs hiss in the bowl, included a website of resources called “Singing Shakespeare,” which is a global Then nightly sings the staring owl, project created to “inspire choirs, composers and music lovers of all abilities to 9 10 perform and create musical settings of Shakespeare’s work.” Three Shakespeare Blow, Blow, Thou Winter Wind Sarah Quartel (b. 1982) Songs, composed by British composer Toby Young, was commissioned for this Blow, blow, thou winter wind. purpose, and the music was made free to any choir who wanted to participate. Thou art not so unkind It is with pleasure that Con Gioia becomes a part of this worldwide musical As man’s ingratitude. celebration this afternoon. Thy tooth is not so keen, Because thou art not seen, Although thy breath be rude. Ban Ban Caliban Dan Forrest Heigh-ho, sing heigh-ho, unto the green holly. No more dams I’ll make for fish, Most friendship is feigning, most loving mere folly. Nor fetch in firing at requiring, Then heigh-ho, the holly. Nor scrape trencher, nor wash dish. This life is most jolly. ‘Ban, ‘Ban, Caliban Freeze, freeze, thou bitter sky, Has a new master. That dost not bite so nigh Get a new man. As benefits forgot. Freedom, high-day, high-day, freedom, Though thou the waters warp, Freedom, high-day, freedom! (The Tempest, Act 2, Scene 2) Thy sting is not so sharp As friend remembered not. The character of Caliban in Shakespeare’s The Tempest is not on anyone’s short- Heigh-ho, sing heigh-ho, unto the green holly. list of heroic characters or hated villains. He is the bumbling servant of the sorcerer Most friendship is feigning, most loving mere folly. Prospero, described as a spotted monster, half human, half devilish and smelling of Then heigh-ho, the holly. rotten fish. The text is Caliban’s celebration of finding a new master in Stephano and This life is most jolly. (As You Like It, Act 2, Scene 7) Trinculo, who have bribed Caliban into their service through the sharing of a bottle of spirits. Despite his shortcomings, the driving, rhythmic and exuberant music has made As You Like It has been referred to as a musical comedy because it features more Caliban a favorite of Con Gioia. songs than any other play of Shakespeare. This song is sung by Amiens, one of the courtiers of the exiled Duke Senior. It can be interpreted as a commentary on the Duke’s situation, who has been banished to the forest by an ambitious and jealous Lute Orlando Sleepeth • John Dowland (1563–1623) brother. It states that physical suffering caused by the piercing winter winds is preferable to the inner suffering caused by man’s ingratitude. The verses are written in iambic trimeter and the chorus in dactylic tetrameter, which the composer represents CAPRICCIO in the alternating duple and triple meter in the piano accompaniment.

from Three Songs from Shakespeare’s Cary Ratcliff (b. 1953) Hark! The Echoing Air Henry Purcell (1659–1695) “A Midsummer Night’s Dream” II. Philomel with Melody England’s national poet has inspired numerous art forms including opera. Hark! The Echoing Air comes from Purcell’s The Fairy Queen, which is regarded as the first You spotted snakes with double tongue, Shakespearean opera, although the golden age for operas inspired by the Bard came Thorny hedgehogs, be not seen; later. The libretto is an anonymous adaptation of Shakespeare’s comedy A Midsummer Newts and blind-worms, do no wrong; Come not near our fairy queen. Night’s Dream. The aria belongs to the elaborate epithalamium, a wedding song or poem, which ends the work. An outstanding example of the fresh energetic quality Philomel, with melody, that characterizes Purcell’s melodies, the vocal line evokes the joyous occasion with Sing in our sweet lullaby; numerous sequences and melismas on the words “triumph” and “pleased,” with Lulla, lulla, lullaby; lulla, lulla, lullaby! further text painting during “clap their wings.” Never harm, Nor spell, nor charm, Come our lovely lady nigh; madisonyouthchoirs @mycchoirs madisonyouthchoirs So, good-night, with lullaby. madisonyouthchoirs.org

11 12 Weaving spiders, come not here; And therefore take the present time, Hence, you long-legged spinners, hence! With a hey, and a ho, and a hey hey-nonny-no, Beetles black, approach not near; For love is crownèd with the prime Worm nor snail, do no offence. In springtime, the only pretty ring time, When birds do sing, Hey ding a ding, ding. Philomel, with melody, Sweet lovers love the spring. (As You Like It, Act 5, Scene 3) Sing in our sweet lullaby; Lulla, lulla, lullaby; lulla, lulla, lullaby! Composers through the ages have been inspired to set Shakespeare’s words to music. Never harm, Rutter bends interpretation, using the vocal jazz idiom with its driving syncopations, Nor spell, nor charm, swing rhythms and jazz dissonances to breathe new life into this 400-year-old text Come our lovely lady nigh; from As You Like It. Love is the central theme of the play and the song It was a Lover So, good-night, with lullaby. (A Midsummer Night’s Dream, Act 2, Scene 2) and his Lass serves as a prelude to the wedding ceremony of Audrey and Touchstone. After writing incidental music for a production of A Midsummer Night’s Dream, It praises springtime and announces the rebirth of nature. Originally set for mixed Ratcliff adapted some of the themes into these settings. Philomel with Melody was voices, this composition became the first movement of a choral suite written to th sung to spidery choreography in the role of the fairies and is in its original choral celebrate the 75 birthday of the legendary jazz pianist George Shearing. form. In the play, the fairies sing this song to Titania, Queen of the fairies, to lull her to sleep. First, the fairies ward off evil and then they sing a gentle lullaby, which can Lute Complaint • John Dowland (1563–1623) be heard in the contrasting sections of the piece. Philomel is a character in Greek mythology that turned into a nightingale and it is her song that the fairies invoke. CANTILENA III. I Will Wind Thee in my Arms Sleep thou, and I will wind thee in my arms. So doth the woodbine the sweet honeysuckle Give Them Thy Fingers Stefan Kalmer (b. 1955) Gentle entwist; The female ivy so Enrings the barky fingers of the elm. See text and program notes on pg. 24. O, how I love thee! (A Midsummer Night’s Dream, Act 4, Scene 1)

While Titania is sleeping, her husband Oberon, king of the fairies, in a jealous rage The Willow Song Arthur Sullivan (1842–1900) Willow, Willow, Willow Charles H. H. Parry (1848–1918) convinces his servant Puck to sprinkle magic flower juice on Titania’s eyes. A spell is cast so that Titania will fall in love with the first creature she sees upon waking. She See text and program notes on pg. 22. awakens and falls instantly in love with the donkey-headed Bottom, expressing her love while singing I Will Wind Thee in my Arms. Lute Kemp’s Jig • Anonymous

It Was a Lover and his Lass John Rutter (b. 1945) CANTABILE It was a lover and his lass, With a hey, and a ho, and a hey-nonny-no, That o’er the green cornfield did pass In springtime, the only pretty ring time, Stephen Hatfield (b. 1952) When birds do sing, Hey ding a ding, ding. When Icicles Hang Sweet lovers love the spring. See text and program notes on pg. 9. Between the acres of the rye, With a hey, and a ho, and a hey-nonny-no, These pretty country folks would lie “Che faceste” from Macbeth Giuseppi Verdi (1813–1901) In springtime, the only pretty ring time, See text and program notes on pg. 28. When birds do sing, Hey ding a ding, ding. Sweet lovers love the spring…

13 14 MADISON BOYCHOIR

One December, Bright and Clear Traditional Catalonian carol Arranged by Mack Wilberg Performing with the Madison Symphony Orchestra last week gave the Boychoir an opportunity to learn a few pieces typically not part of our repertoire: traditional Christmas carols. This jaunty melody from Spain reminds us that the word “carol” used to mean a song for dancing. SHAKESPEARE Lute Complaint • John Dowland (1563–1623) PURCELL 4:00p.m. Sunday, December400 11 First Congregational Church

Chairs to Mend William Hayes (1708–1777)

Although written a full century after Shakespeare’s time, the idea of this piece would have been familiar to the Bard and his contemporaries: the cries of street vendors in PURCELL London. Just as in “Who Will Buy?” from the musical Oliver, the piece works by Margaret Jenks, conductor superimposing contrasting melodies that fit together as counterpoint, in this case, a Kirsten Haukness, choir intern rag-seller with rabbit skins, a fish-monger with fresh mackerel, and a chair repair man. Andrew Johnson, piano Lute Orlando Sleepeth • John Dowland (1563–1623) BRITTEN Randal Swiggum, conductor BRITTEN Steve Radtke, piano

HOLST Blow, Blow, Thou Winter Wind Roger Quilter (1877–1953) (see text on pg. 12) Margaret Jenks and Randal Swiggum, conductors Renowned British composer Roger Quilter wrote settings of nearly every Shakespearean song lyric, including this one, from As You Like It. Published in RAGAZZI 1905, the song captures the irony in the text, which finds the bitterness of betrayed friendship and ingratitude more biting than winter wind or freezing sky. Britten boys Michael Ross, conductor used the elements of music to discover how Quilter points up the irony in the text’s Jess Salek, piano refrain, “Heigh ho, sing heigh ho unto the green holly, this life is most jolly” with some of the most forcedly cheerful melodies and sunny harmonies imaginable.

16 Full Fathom Five John Ireland (1879–1962) Full fathom five thy father lies. Of his bones are coral made. Those are pearls that were his eyes. Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell. Ding-dong. Hark, now I hear them. Ding-dong, bell. (The Tempest, Act 1, Scene 2)

At the beginning of The Tempest, the young Ferdinand finds himself on a beach of a strange island, after a shipwreck in which he fears his father has drowned. Ferdinand hears magical music but doesn’t know that its source is the spirit Ariel, who sings these words, describing the transformation of his father’s body into coral and pearls, at the bottom of the sea. Both Britten and Holst, in studying this elusive and odd text, wrestled with not only the “music” of its words, but its inherent strangeness: is Ariel’s intention mere whimsy, or to comfort Ferdinand? Musicalizations of this text, of which there have been hundreds, often take a solemn or mystical approach, emphasizing the funeral bells tolling at the end. This version, written in 1908, is quick and fantastic, and reminds us that Ariel is a spirit, with a sense of humor.

Who Is Silvia? Franz Schubert (1797–1828) Who is Silvia? What is she, That all our swains commend her? Holy, fair and wise is she; The heaven such grace did lend her, That she might admired be. residential summer music academy Is she kind as she is fair? For beauty lives with kindness. Door county, WI | summer 2017 @BirchCreekMusic Love doth to her eyes repair, To help him of his blindness, percussion & And, being help’d, inhabits there. steel band Then to Silvia let us sing, June 18 - July 1 That Silvia is excelling; She excels each mortal thing symphony Upon the dull earth dwelling: July 2 - 15 To her let us garlands bring. (Two Gentlemen of Verona, Act 4, Scene 2) jazz This exuberant art song, one of Schubert’s most famous, is a celebration of human July 16 - 29 beauty and virtue—in this case, the character Silvia in Two Gentlemen of Verona. In July 30 - August 12 the play, the song is a moonlight serenade by Thurio and a band of musicians, under Silvia’s window. Britten boys debated (before they knew the truth) whether the text sounded like Shakespeare or not, as a way of identifying markers of Shakespeare’s Scholarships available! style. Although we are singing it in the original English, Schubert’s setting was contact: actually in German translation (An die Sylvia, or “To Sylvia”)—a reminder of the birchcreek.org/academy [email protected] wave of Shakespeare mania that swept Europe and especially Germany and Austria in the 19th century. 18 solo voice and lute. This setting transcribes the lute part into a madrigal style for four Lute Mr. Dowland’s Midnight • John Dowland (1563–1623) part voices. The phrase “sea change” was invented by Shakespeare in this song, and Johnson effectively uses a mysterious change of harmony to illustrate the underwater PURCELL transformation from bones and skin to coral and pearl.

Sing We and Chant It Thomas Morley (1557–1602) Holst boys explored life for young men of privilege in Elizabethan England, which Blow, Blow, Thou Winter Wind John Rutter (b. 1945) meant speaking several languages, fencing, knowing courtly dances, and being able Shakespeare’s Sonnet 18, “Shall I Compare Thee to a Summer’s Day?,” speaks of the to sing and play an instrument. All things Italian were in fashion, as evidenced by the desire to immortalize a person’s love and goodness through a lasting work of art. On number of Shakespeare’s plays set in Italy, such as Romeo and Juliet, Two Gentlemen the other hand, “Blow, Blow Thou Winter Wind” from As You Like It describes just of Verona, The Merchant of Venice, Othello and others. This famous madrigal is how disappointing, ungrateful, and cruel humans can be. Through looking at both of actually an arrangement of an Italian popular song, “A lieta vita,” with a carpe diem these works, Purcell explored Shakespeare’s reputation for really understanding the theme on the pleasures of youth. Morley and Shakespeare likely knew each other and intricacies of human personalities and their capabilities for both great beauty and great were perhaps even close friends—they lived in the same parish, both were highly- failure. (See Outcome #3 in Directors’ Notes.) regarded and, as today, musicians and actors traveled in the same social circles. Shakespeare certainly knew this song, and probably sang it with his gentlemen friends In this particular setting, we examined lines of text that were repeated (and why), lines at social gatherings. that are part of a pattern of musical sequences (almost all of them), as well as lines of music/text that stood alone, not part of a sequence (what is their impact?). MADISON BOYCHOIR

The Coasts of High Barbary Traditional English sea song Arranged Jeanne Julseth-Heinrich Panis Angelicus César Franck (1822–1890) The history of the traditional English sea song “The Coasts of High Barbary” is, like (sung in Latin) many folk songs, hard to pin down with precision. There are certainly versions that The Bread of Angels becomes the bread of men. closely resemble ours from the 18th century, but fragments with similar tunes date The heavenly bread is an end to all imagining. much earlier. In the Shakespeare/Fletcher play, “The Two Noble Kinsmen,” believed O miraculous thing! to be written around 1611 and published later in 1634, the ballad is referred to as a That the body of the Lord nourishes even the poorest, popular, well known song. Some historians theorize that the protagonist ship that the the humblest of servants. (St. Thomas Aquinas) song is based on dates to the mid 16th century and was a British ship that sailed the shores of Scotland fending off pirate attacks. For Purcell members, it was interesting Arguably his most famous and beloved composition, César Franck created this to imagine pirates and sea travel as part of the world that Shakespeare inhabited. communion anthem for his Mass for Three Voices (1859). The piece has been sung by famous tenors for over one hundred years, most notably Luciano Pavarotti, Lute Full Fathom Five • Robert Johnson (1583–1633) Richard Tucker (at the funeral of Robert Kennedy in 1968), and Placido Domingo, accompanied by Yo Yo Ma, at the funeral of Edward Kennedy, televised nationally on HOLST August 29, 2009. RAGAZZI

Full Fathom Five Robert Johnson (c. 1583–1633) Gerald Finzi (1901–1956) On November 1, 1611, King James I and his court enjoyed a private performance of Come Away, Death a new play, The Tempest—certainly one of the strangest and most mysterious pieces See program notes on pg. 25. of theatre ever devised. Scholars believe it was this melody, by Robert Johnson, that was used in the performance, making it one of the few examples of music from a The Witching Hour Braeden Ayres (b. 1989) Shakespeare play for which we know the tune. The original published version is for See program notes on pg. 26. 19 20 CANTILENA

The Willow Song Arthur Sullivan (1842–1900) Willow, Willow, Willow Charles H. H. Parry (1848–1918) The poor soul sat sighing by a sycamore tree, Sing all a green willow. Her hand on her bosom, her head on her knee, Sing willow, willow, willow. The fresh streams ran by her, and murmured her moans, Sing willow, willow, willow. Her salt tears fell from her, and softened the stones Sing willow, willow, willow— Sing all a green willow must be my garland. (Used in Othello, Act 4, Scene 3) Considered by some to be the saddest of all of Shakespeare’s laments, The Willow SHAKESPEARE Song has been set by many composers. These two settings by well-known English 7:00p.m. Sunday, December400 11 contemporaries are an interesting study in contrast and similarity. Both composers used musical motives to represent the willow and the river streams, and both used First Congregational Church chromatic melodic figures to represent the weeping of Desdemona, but each chose a different tonal center. The richness of Shakespeare’s words leads to many artistic choices.

Fair Oriana Seeming To Wink At Folly Robert Jones (c. 1577–1617) CANTILENA Robert Jones was an English lutenist and composer and a contemporary of Marcia Russell, conductor Shakespeare. This madrigal is taken from The Triumphs of Oriana, a collection Jingwen Fan, piano of English madrigals said to be devoted to Queen Elizabeth. Each madrigal in this collection ends with the same text: Thus sang the shepherds and nymphs of Diana: long live fair Oriana. The interplay of each voice is woven through the polyphonic RAGAZZI texture. Michael Ross, conductor You Spotted Snakes Felix Mendelssohn (1809–1847) Jess Salek, piano Marie McManama, soprano; Sarah Leuwerke, mezzo-soprano (First Fairy) You spotted snakes with double tongue, Thorny hedgehogs, be not seen; CANTABILE Newts and blind-worms, do no wrong, Michael Ross, conductor Come not near our fairy queen. Jess Salek, piano (Chorus) Philomel, with melody Sing in our sweet lullaby; Lulla, lulla, lullaby, lulla, lulla, lullaby: Never harm, Nor spell nor charm, Come our lovely lady nigh; So, good night, with lullaby.

22 (Second Fairy) Weaving spiders, come not here; Hence, you long-legg’d spinners, hence! Beetles black, approach not near; Worm nor snail, do no offence. (Chorus) Philomel, with melody… (First Fairy) Hence, away! now all is well: One aloof stand sentinel. (A Midsummer Night’s Dream Act 2, Scene 2)

A Midsummer Night’s Dream is rich with drama, imagery, intrigue, humor, conflict and love. The story is so rich, it has been told in almost every artistic medium: drama, opera, ballet, cinema, visual art and more. This setting is taken from a scene in Mendelssohn’s opera, in which the fairies are gathering to lull Titania, the Queen of Fairies, to sleep. The text has inspired many composers, and you will hear three different settings performed by the MYC girlchoirs this season.

Give Them Thy Fingers Stefan Kalmer (b. 1955) How oft when thou, my music, music play’st, Upon that blessed wood whose motion sounds With thy sweet fingers when thou gently sway’st The wiry concord that mine ear confounds, Do I envy those jacks that nimble leap, To kiss the tender inward of thy hand,

UNIVERSITY OPERA PRESENTS Whilst my poor lips which should that harvest reap, At the wood’s boldness by thee blushing stand! BENJAMIN BRITTEN’S To be so tickled, they would change their state And situation with those dancing chips, THE Turn of the Screw O’er whom thy fingers walk with gentle gait, Making dead wood more bless’d than living lips. Since saucy jacks so happy are in this, FRIDAY SUNDAY TUESDAY Give them thy fingers, me thy lips to kiss. (Sonnet 128) MARCH 3 MARCH 5 MARCH 7 7:30 PM 3:00 PM 7:30 PM Stefan Kalmer is a German composer who has taken Sonnet 128 and set it in a vocal jazz style. The harmonic scheme is typical of popular music, using much repetition of a limited chord structure. The interplay between the voices is not unlike the setting of “Fair Oriana” heard earlier in the program: a melodic line passed from voice to voice, seamless and connected. Unlike the other music performed tonight, the text is understated and somewhat hidden among neutral syllables. This understatement highlights the intimacy and sensuality of the text.

Lute Mr. Dowland’s Midnight • John Dowland (1563–1623)

MEAD WITTER SCHOOL OF MUSIC

UNIVERSITY OF WISCONSIN – MADISON

24 RAGAZZI The Witching Hour Braeden Ayres (b. 1989) (Witches) Thrice the brinded cat hath mew’d, thrice and once the hedge-pig whined. Harpier cries: “‘tis time, ‘tis time.” Four Arms, Two Necks, One Wreathing Thomas Weelkes (1575–1623) Round about the cauldron go; in the poison’d entrails throw.

th Toad, that under cold stone days and nights have thirty-one Based on the ballett, a light, dance-like form from the 16 century, this short song Swelter’d venom sleeping got; boil thou first i’ the charmed pot. embraces the Renaissance tradition (embraced with gusto by Shakespeare) of double Fillet of a fenny snake, in the cauldron boil and bake; entendre. Eye of newt and toe of frog, wool of bat and tongue of drog. Adder’s fork and blind-worm’s sting, lizard’s leg and owlet’s wing. Gerald Finzi (1901–1956) Come Away, Death For a charm of powerful trouble, like a hell-broth boil and bubble (Feste) Come away, come away death, and in sad cypress let me be laid. Double, double, toil and trouble; fire burn and cauldron bubble… Fly away, fly away, breath, I am slain by a fair cruel maid. …by the pricking of my thumbs, something wicked this way comes. My shroud of white, stuck all with yew—O, prepare it! (Macbeth, Act 4, Scene 1) My part of death, no one so true did share it. Not a flower, not a flower sweet on my black coffin let there be strown. Ragazzi singers recently spent a “virtual evening” with composer Braeden Ayres (who Not a friend, not a friend greet my poor corpse, is currently a graduate student in choral conducting at the University of Northern where my bones shall be thrown. Colorado). Hearing from the composer was a wonderful experience for our singers. A thousand thousand sighs to save, lay me o where We discovered that Ayres deliberately set this witches’ text for male voices, paying Sad true lover never find my grave, to weep there! homage to the Shakespearean tradition of all roles being played by men. He captures (Twelfth Night, Act 2, Scene 4) the creepiness of this scene from Macbeth through his haunting and rhythmic accompaniment, use of dissonance, and musical “quotes” from the dies irae (day of Finzi’s masterful setting of one of Feste’s songs captures the anguish inherent in the wrath) chant. text. Feste sings of a lover that in an uncaring relationship that is so distressed that he wants to die anonymously and be buried far away. We can hear the death knells in the opening measures of the accompaniment. As the text grows more despondent, Finzi weaves a final twisting, yearning melody on the word “weep.”

And Draw Her Home with Music Nancy Hill Cobb (b. 1951) (Lorenzo) How sweet the moonlight sleeps upon this bank! Here will we sit and let the sounds of music Creep in our ears: soft stillness and the night Become the touches of sweet harmony. Sit, Jessica. Look how the floor of heaven Is thick inlaid with patines of bright gold; There’s not the smallest orb which thou behold’st But in his motion like an angel sings, Still quiring to the young-eyed cherubins. Such harmony is in immortal souls: But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it. Come, ho! And wake Diana with a hymn! With sweetest touches pierce your mistress’ ear, And draw her home with music. (The Merchant of Venice, Act 5, Scene 1) Comparing the beauty of music and nature, Shakespeare expertly captures our sense of wonder. Composer Nancy Hill Cobb supports Shakespeare’s incredible descriptive abilities with her own wonderful choral writing, contrasting unison singing with full, four-part choral textures. 25 And pluck the wings from painted butterflies Complaint • John Dowland (1563–1623) Lute To fan the moonbeams from his sleeping eyes: Nod to him, elves, and do him courtesies (Act 3, Scene 1) CANTABILE (Oberon) Through the house give glimmering light… Every elf and fairy sprite… Sing this ditty after me, Sing and dance it trippingly. “Che faceste” from Macbeth Giuseppi Verdi (1813–1901 (sung in Italian) (Titania) First, rehearse your song by note, To each word a warbling note. (Witches) What have you been doing? Tell us! Hand in hand with fairy grace I have slit a boar’s throat. What have you done? Will we sing and less this places. I’m thinking of a sailor’s wife who chased me to the devil, But her husband has set sail and I’ll drown him with his ship. (Fairies) Now until the break of day, I shall give you the north wind, Through this house each fairy stray. I shall raise the waves To the best bride bed will we, I shall drag it across the shallows Which by us shall blessed be. A drum! What can it be? Macbeth is coming—he is here! And the issue there create The wandering sisters fly through the air, sail over the waves, Ever shall be fortunate. and bind a circle through land and sea. So shall all the couples three Ever true in loving be… Shakespeare’s work has always been a favorite in the opera world, with more than With this field dew consecrate, 200 operas based on his plays written. Many Romantic era composers turned to Every fairy take his gait. then-contemporary librettists (here Francesco Piave) to take Shakespeare’s words And each several chamber bless and re-work them into their native tongues. Although the chant-like rhythms of Through this palace with sweet peace. Shakespeare’s original text (“When the hurlyburly’s done/When the battle’s lost and And the owner of it blessed won) is gone, Verdi successfully communicates the bleakness of the witches’ plotting Ever shall in safety rest. in this opening scene from his setting of Macbeth. Trip away. Make no stay. Meet me all by break of day. (Act 5, Scene 2)

Come Away, Death Roger Quilter (1877–1953) Benjamin Britten, one of England’s greatest 20th century composers, sets Shakespeare’s text almost word-for-word. “Be kind and courteous” is sung by Titania, (see text on pg. 25) queen of the fairies. “Through this house give glimmering light” begins with a duet Quilter’s setting of the text is as accomplished as that of fellow British composer, between Titania and Oberon (king of the fairies—in typical opera fashion the male Gerald Finzi. He saves a special, extended line with a turn at the end for the final role is here sung by a mezzo-soprano). The chorus that follows is pure Britten genius: “weep.” a hauntingly beautiful round-like melody that is sung first with the parts “spread out”—with entrances staggered over several measures—and then compressed, with entrances occurring every few beats. selections from A Midsummer Night’s Dream Benjamin Britten (1913–1976) “Be kind and courteous” “Through the house give glimmering light” When Icicles Hang Stephen Hatfield (b. 1952) Marie McManama, soprano; Sarah Leuwerke, mezzo-soprano When icicles hang by the wall (Titania) Be kind and courteous to this gentleman; And Dick the shepherd blows his nail Hop in his walks and gambol in his eyes; And Tom bears logs into the hall Feed him with apricocks and dewberries, And milk comes frozen home in pail, With purple grapes, green figs, and mulberries; When blood is nipp’d and ways be foul, The honey-bags steal from the humble-bees, Then nightly sings the staring owl, And for night-tapers crop their waxen thighs Tu-whit; Tu-whoo, a merry note, And light them at the fiery glow-worm’s eyes, While greasy Joan doth keel the pot. To have my love to bed and to arise; 27 28 Madison Boychoir, 1973 When all aloud the wind doth blow And coughing drowns the parson’s saw And birds sit brooding in the snow And Marian’s nose looks red and raw, When roasted crabs hiss in the bowl, Then nightly sings the staring owl, Tu-whit; Tu-whoo, a merry note, While greasy Joan doth keel the pot. (Love’s Labour’s Lost, Act 5, Scene 2, WINTER)

This text creates, in a few lines, an entire winter landscape, from people blowing on Introducing the Madison Youth Choirs Legacy Society their hands as they work, to discovering their milk has turned to ice in the pail; from Honoring MYC supporters who have made a planned gift people attending church full of head colds, to the Yuletide fires in the manor hallway; from serving maids stirring the pot for dinner to the owls calling from the winter In July 2003, Madison Youth Choirs (MYC) was created through the merger wood. My setting…can be sung in the manner of a madrigal, or of a school skit, or of the Madison Boychoir and Madison Children’s Choir, combining nearly 50 everything in between: the song is simultaneously spooky and humorous. The vocal years of service to young people in our community. Since 2003, participation style, very much influenced by the madrigal, is full of the antiphonal, dramatic effects in MYC’s choral programs has more than doubled, and a growing scholarship we expect from the tradition, as well as the contrapuntal ethos that ensures every fund has ensured that every child, regardless of financial ability, has the voice sings melodic lines. (Notes by the composer) opportunity to add his or her voice to the choir.

With a rich, historic past and a bright, expanding future, Madison Youth Choirs Lute Kemp’s Jig • Anonymous is thrilled to offer a new opportunity for our supporters to help assure the sustainability of the choirs for years to come. Anyone who chooses to make MYC the beneficiary of a planned gift, regardless of the amount, is eligible to RAGAZZI AND CANTABILE be an honored member of the Madison Youth Choirs Legacy Society.

We invite you to join the following founding members of the MYC Legacy Society, whose generosity will help to sustain Ave Verum Corpus William Byrd (1543–1623) young voices in our community for generations to come. (sung in Latin) Alexis Buchanan and James Baldwin Hail true body, born of the Virgin Mary. Sandra Barty Truly suffering, was sacrificed on the cross for all, Gwen and Kenn JeSchonek From whose pierced side flowed blood, Richard Moll Be for us a foretaste in the final judgement. Kris Rasmussen and Bob Factor O sweet, O merciful, O Jesus, Son of Mary, Michael Ross and Kirsten Fruit Have mercy on me. Amen. To find out more about the MYC Legacy Society, The conversion of England from the Roman Catholic Church to the Church of please contact Nicole Sparacino at [email protected] England by King Henry VIII forced those who wished to practice Catholicism to do or visit madisonyouthchoirs.org/support/legacy so covertly, as penalties included fines, scrutiny, torture, or death. All vestiges of the “old religion” were summarily prohibited, including the use of Latin (only English was now permitted in the liturgy). In this highly volatile and oppressive atmosphere, William Byrd played a dangerous game. Refusing to conform to the new religion, he composed music for use in Catholic services, held secretly in private residences, more often than not written in Latin texts. He managed this rebellion without loss of life or livelihood due in part to his exemplary musical skill and by frequently dedicating publications to the Queen. (Notes adapted from Drew Collins) Madison Children’s Choir, 2001 30 Jingle, Bells! James Pierpont (1822–1893) Arranged by David Willcocks “To write a song that stands for the simplest joys, to write a song that three or four hundred million people around the world know, a song about something they’ve never done, but can imagine, a song that every one of us large and small can hoot out the moment the chord is struck on the piano, and the chord is struck in our spirit, well, that’s not failure! One snowy afternoon in deep winter John Pierpont penned the words as a small gift to his family and friends and congregation, and in doing so he left a permanent gift…the best kind…the invisible, invincible one of joy!” (Robert Fulghum, from It Was On Fire When I Lay Down On It)

SPECIAL GUEST ARTISTS

Brandon J. Acker, lute, is a highly sought out soloist, collaborator and lecturer on the classical guitar, lute and theorbo. Recent achievements include two debut CDs released by Jester Recordings and a highly praised collaboration with the creators of Les Misérables in the English language premiere of their musical La Révolution Française. He’s been praised for his “Able accompaniment on the lute” in Bach’s St. John Passion by the Chicago Classical Review and his frequent lieder and lute song recitals have led the editor of Vocal Arts Chicago to proclaim that “There are few events on this calendar more beautiful or ideal than Brandon J. Acker accompanying a singer in an intimate setting.” Brandon holds performance degrees from both DePaul and Northwestern University. He has toured through England and Scotland with Chamber Opera Chicago and performed with the Bach and Beethoven Ensemble and the Amadeus Consort. He has been featured on WFMT 98.7 and has premiered several works and arrangements on WDRT 91.9. Internationally acclaimed guitarist Jason Vieaux referred to him as possessing a “Beautiful sound and really nice touch on the instrument.” In 2010 Brandon received 1st prize in the Society of American Musician’s Competition. Upcoming projects include the release of a CD by his harp & guitar duo Strung Up featuring their arrangements of works by Glass, Pärt and Hovhaness.

Marie McManama, soprano, Originally from St. Louis, Missouri, has performed with the Madison Choral Project, Isthmus Vocal Ensemble, Four Seasons Theatre, Peninsula Music Festival, Cincinnati Opera, St. Louis Symphony, St. Louis Muny, Grant Park Music Festival, SongFest, San Francisco Festival Chorus, and the Grand Teton Music Festival in Jackson, Wyoming. While completing her Masters at CCM in Cincinnati she also earned her second bachelor’s degree in music education and recently won a scholarship from the Wisconsin Music Educators Association for excellence in teaching. She was the soprano studio artist with Madison Opera’s 2015–2016 season while touring as the Queen of the Night with Opera for the Young’s production of The Magic Flute. Recent favorite roles include Franca in The Light in the Piazza and Julie Jordan in Carousel.

Sarah Leuwerke, mezzo-soprano, has been seen on the operatic stage, as concert soloist, recitalist, and as chamber musician throughout the United States. Highlights include solo appearances with the Billings Symphony, Greeley Philharmonic, Santa Fe Opera, Minnesota Opera, North Star Opera, Opera Theatre of the Rockies,

31 Madison Opera, and the San Antonio Chamber Choir. Ms. Leuwerke received her Madison Youth Choirs CD Order Form Bachelor of Arts degree (Music) from Gustavus Adolphus College and a Master Shakespeare 400 of Music degree in Voice Performance from the University of Northern Colorado. December 11, 2016 • First Congregational Church Immediately following degree completion, she became an apprentice artist with the prestigious Santa Fe Opera Apprentice Artist Program. Praised on the stage as being “fresh-voiced and broadly comic…” (Colorado Springs Gazette), some of Ms. CD Selections Quantity Leuwerke’s operatic credits include Dorabella (Cosi fan tutte), Hänsel (Hänsel und 1:30pm — Choraliers, Con Gioia, Capriccio, Cantilena, Cantabile Gretel) Cherubino (Le nozze di Figaro), Siebel (Faust), Second Lady (Die Zauberflöte), 4:00pm — Purcell, Britten, Holst, Ragazzi Alisa (Lucia di Lammermoor), and Cephise (Pygmalion). Solo credits include Verdi Requiem, Bach B minor Mass, Mozart Requiem, Durufle Requiem, Handel Messiah, — Cantilena, Ragazzi, Cantabile 7:00pm Colomba Mea (Kenneth Leighton), Stabat Mater (Szymanowski), and Brahms Alto Total number of CDs Rhapsody. Ms. Leuwerke was selected as a finalist in the 2013 Bel Canto Chorus Regional Artists Competition. A versatile musician, Ms. Leuwerke is a proud founding member and regular ensemblist and soloist with the Madison Choral Project. Total number of CDs x $15 per CD Subtotal x $15 Plus shipping: $3 for the first CD; 50 cents for each additional CD MYC MEMBERS Total Due

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36 Rose Torti • Madison Country Day School PURCELL “Bravo!” Samantha Wilcox • Sammy Aizenstein* • Lincoln Elementary Cardinal Heights Upper Middle School Owen Auby* • Winnequah Elementary —Voted Madison’s Best Specialty Shop Linus Ballard • Sauk Trail Elementary CANTABILE Frederick Berkelman • Franklin Elementary Kitchenware Melia Allan • West High School Alex Byrnes • Lincoln Elementary Sophie Blumenstein • Francesco Dale • Crestwood Elementary Gourmet foods Inspiring creativity, reflection, Madison Memorial High School Jordan Erickson • Stephens Elementary Cards & gifts and exploration Kendra Borcherding • West High School Caleb Flottmeyer* • Elm Lawn Elementary Kristin Bryan • West High School Soaps Elliot Fruit-Ross • Lincoln Elementary 2016–2017 SEASON CALENDAR Julie Bull • Oregon High School Pablo García • Randall Elementary Candles Dorothy Cai • Madison Memorial High School Isaac Gildrie-Voyles* • Thoreau Elementary MYC AUDITIONS Taylor Eslick • Madison Memorial High School Jonah Greve • Our Redeemer Lutheran School Jewelry Wednesday, November 16, 2016 Emma Everitt • Madison Country Day School Toys Wednesday, January 4, 2017 Ian Heingartner • Lincoln Elementary Various dates, May/June 2017 Caitlin Flannery • Waunakee High School Dylan Hesthaven* • Winnequah Elementary Morgan Gates • Sun Prairie High School Liam Kendziorski* • Winnequah Elementary 1721 Monroe St • 255-8211 SHAKESPEARE 400: Molly Grindle • Middleton High School Teagan Kluetzman • Sandburg Elementary MYC’S WINTER CONCERT SERIES Victoria Harris • Sun Prairie High School Open 7 days a week First Congregational Church, Madison Daniel Knight • Home School Sunday, December 11, 2016 Elyse Harvancik • Oregon High School Taixen Kong* • Orchard Ridge Elementary 1:30pm • 4:00pm • 7:00pm Bijou Hendee • Madison Memorial High School Amin Kouraichi* • Royal Oaks Elementary Lauren Hutter • Middleton High School Gabe Lee • Randall Elementary Orange Tree MADISON BOYCHOIR FESTIVAL Jenny Jiang • Madison Memorial High School James MacAlister • Shorewood Hills Elementary Madison West High School Sarah Johnsrud • Sun Prairie High School Imports Saturday, January 28, 2017 Charles Malueg • Waubesa Intermediate Half-day workshop for boys Elizabeth Jordan • Middleton High School Anthony Marino • Leopold Elementary in grades 2-12, and free concert for Aimee Kujak • New Glarus High School Nate Martin • Eagle School the community at 12:30pm Sanjana Kumar • Madison Memorial High School Nathan Meyer* • Elvehjem Elementary Greta Larget • Madison Memorial High School Luca Nicometo* • Van Hise Elementary CANTABILE & RAGAZZI WITH AUGUSTANA COLLEGE CHOIR Cecilia League • LaFollette High School Lucas Pearl* • Chavez Elementary Luther Memorial Church, Madison Grace Little • West High School Benjamin Siegrist • Falk Elementary Saturday, February 17, 2017 • 7:00pm Gwendolyn Loop • Saint Ambrose Academy Torin Siemering • Van Hise Elementary Claire Matsumura • Middleton High School Marcio Sierra* • Lighthouse Christian School CANTABILE & RAGAZZI Breanna McClarey • West High School PRESENT THE SNOW GOOSE Benjamin Thom • Orchard Ridge Elementary Monroe Arts Center, 1315 11th St., Eliza McPike • Madison Memorial High School Daniel Thom • Orchard Ridge Elementary Monroe, WI Sawyer Mirus • West High School Shrom Tripathi* • Northside Elementary Sunday, March 19, 2017 • 2:00pm Isabel Overman • DeForest High School Liam Weitner* • Kegonsa Elementary Jaelyn Potvin • Sun Prairie High School HIDE AND SEEK: Wesley Proctor* • Madison Memorial High School Dr. Jim Tauschek MYC’S SPRING CONCERT SERIES BRITTEN First Congregational Church, Madison Stella Sanford • East High School Julian Arenas • Whitehorse Middle School Sunday, May 14, 2017 Ameya Sanyal • Madison Memorial High School Ari Ayala • Madison Country Day School 6627 McKee Road 1:30pm • 4:00pm • 7:00pm Kirsten Schoff • West High School Jacob Beaulieu • Indian Mound Middle School Lydia Shaw • Middleton High School Madison, Wisconsin 53719 CANTABILE & RAGAZZI Felix Berkelman • Randall Elementary 848.5680 • FAX 848.5681 AT HOLY WISDOM MONASTERY Jane Song • Madison Memorial High School Calvin Branum* • Kromrey Middle School 4200 Co Hwy M, Middleton, WI Ellie Taylor • Middleton High School J. Isaac Carrano • Home School www.maplegrovedentalmadison.com Saturday, June 3, 2017 • 7:00pm Lea Van Hook • Verona Area High School Irmuun Choijantsan • Jefferson Middle School Susan Vanderbloemen • McFarland High School Jadon Colbert • Saint James School madisonyouthchoirs.org • (608) 238-7464 Drew White • West High School Finn Frakes • Hamilton Middle School

MadisonYouthChoirs @MYCchoirs León García • Hamilton Middle School Noah Gillian-Daniel* • O’Keeffe Middle School Danny Itani • Madison Country Day School 38 Jayquan Jaeger • Nuestro Mundo Elementary Ethan Staver • Glacial Drumlin Middle School Jake Statz • West High School FALL INTRODUCTORY CHOIRS Noah Laubach • Home School Stuart Thomason • West High School Ernst Stolzenburg • West High School COLLA VOCE Julia Ravindran Ian McCants • Kromrey Middle School Oliver Van Note • Toki Middle School Noel Tautges • Madison Memorial High School Megan Aman-Lavicky Emily Ross Jacob Monday • Columbus Middle School Lars Wuethrich* • West High School John Unertl • Oregon High School Hasini Ananthula Esme Rotering Ian Morrison-Miess • Eagle School Arik Zintel* • Oregon Middle School Michael Verban • West High School Catherine Arnold Kaylee Ryan Benjamin Moyle* • Glacial Drumlin Middle School Christopher Waller • West High School Sabella Barbush Mari Sobota Kevin Sanchez • Stephens Elementary RAGAZZI Peter Woods • West High School Rachel Baron Sasha Trybulec Charles Schoff • Van Hise Elementary Samuel Anderson • Verona Area High School Henry Zavos • West High School Sophia Chen Cindy Tu Evan Sercombe • Waubesa Intermediate Noah Argus • Johnson Creek High School * Debut concert with MYC Seneca DeMarb Schuch Anahi Vazquez Joey Sheskey • Blessed Sacrament Kurt Borcherding • West High School Catherine Galvin Iris Zhu Jonas Sime • Toki Middle School Owen Busse • Madison Memorial High School Melody Goetsch Thomas Sime • Toki Middle School Andrew Carran • Madison Memorial High School Caroline Hughes TALLIS Logan Spahos • Waubesa Elementary Reese Clostermery • Sun Prairie High School Amaia Huneeus John Basil Keck Andrew Stiehl • Glacier Creek Middle School Charlie Deck • West High School Dahlia Johnson Viktor Colson Broderick Stuttgen • Saint Maria Goretti School Peter Dimond • Verona Area High School Eleanor Keck Braiden Kovell Lars Swanson • Madison Country Day School Michael Egle • Verona Area High School Amelia Kelly Frankie Nagle Aimon Van Houten • Country View Elementary Gabe Espinoza-Forlenza* • West High School Lucy Kelly Mitchell Reeser Mark Vandenberg • High Point Christian School Nick Fenn* • Monroe High School Nylah Kleiss David Vazquez • Whitehorse Middle School Andrew Fernandez • West High School Jayda Mand Lukas Wehlitz • Eagle School Liam Forrest • West High School Anders Frank • Mount Horeb High School HOLST Marcus Graham • East High School Friends and Donors Benjamin Auby • Glacial Drumlin Middle School Chase Harless • Middleton High School Ian Auger • Hamilton Middle School Patrick Hill • West High School Kento Bushey • Hamilton Middle School Nathaniel Johnson • West High School Michael Chiaverini • Glacier Creek Middle School Liam Kantor • West High School Madison Youth Choirs is exceedingly grateful to the foundations, businesses William Christensen* • Glacier Creek Middle School Christopher Kjentvet • Middleton High School and individuals who participate in our mission by making a financial contribution. Bruno Crump • Glacier Creek Middle School Clayton Kruse • Madison Memorial High School Thank you for your generous support of youth music education in our community! Dario De La Rosa • Hamilton Middle School Jacob Larget • Madison Memorial High School (A)=Alumni (P)= Current Parent (S)= Current Singer Brennan DeMarb Schuch • Hamilton Middle School Alexander Lemmenes • West High School James Fishman-Morren • Wingra School William MacAlister • West High School Sustainer ($5,000 or more) Sponsor ($500 to $999) Gwen and Kenn JeSchonek Charlie Grabois • Eagle School Henry Malueg • McFarland High School American Family Insurance Anonymous (P) Anita, Steven, Andrew, American Girl’s Fund for Children Phil Hammond and Matthew Johnson Christian Jaeger • Sennett Middle School Anton Maslowski • Verona Area High School Diane Ballweg Michael Ross and Kirsten Fruit in memory of Bert Johnson Simon Johnson • Hamilton Middle School Alexander Nepokreoff • West High School Kurt Sladky and Deb Neff Donald Snyder Dan Krunnfusz Dylan Juni • Hamilton Middle School Erick Paiz-Handrick • West High School Dane County Cultural Anne Spurgeon Laura Laz and Jim Hirsch Simon Keevil* • Hamilton Middle School Mark Paiz-Handrick • West High School Affairs Commission and David Woods (P) Rob Maher (A) John A. Johnson Foundation, Mary Stoffel and Rich Novotney in memory of Carrel Pray William Kelly • Home School Lucas Parana • West High School a component fund of Madison Geri Torti Brian Mott Piano Service Jack Kjentvet • Middleton High School Raphael Reiss • West High School Community Foundation in honor of Rose and Maria Torti Nancy and Roger Rathke Eli Kuzma • Glacial Drumlin Middle School Christian Rickman • West High School Nicole Sparacino and Rob Kratz Benefactor ($1,000 to $4,999) Contributor ($250 to $499) Melissa and Paul Warner Espen Lyshek • Hamilton Middle School Jose Rojas* • West High School Brat Fest Anonymous in memory of Carrel Pray Henry Merrell-Van Sickle • Eagle School Eric Roman-Binhammer • West High School Brittingham Fund/Madison Trust Charles F. and Mary P. Anderson Cameron Moll • Toki Middle School Spencer Ross • McFarland High School Cap Times Kids Fund in memory of Carrel Pray Supporter ($100 to $249) Logan Mosling • Madison Country Day School Leo Rossmiller • Middleton High School Courtier Foundation, Inc. Kay and Nick Cahill (P) Anonymous (P) Madison Arts Commission Maria Saffiotti Dale Anonymous (3) Josh Plasterer • Hamilton Middle School Jameson Rotering • Verona Area High School Madison Festivals Inc. and Tom Dale (P) Melissa and Mike Allan (P) Liam Rotering • Verona Area Core Knowledge Ransom Rotering • Verona Area High School Madison South Rotary Foundation Rahel Desalegne and Girma Tefera Burt and Silvana Avedon Henrik Siemering • Hamilton Middle School Jack Sabatke* • Monroe High School Carrel Pray Carol A. Diamond in memory of Carrel Pray John, Larry, Ken and Doug Pray and Howard A. Rowley Hilary and John Bauman Aidan Sigmund • Our Lady Queen of Peace Albert Shoshany-Glosser • LaFollette High School in memory of Carrel Pray Altaweel Family Nancy Becknell Isaiah M.E. Smith • Wright Middle School Omeed Soltani • West High School Wisconsin Arts Board Eleanor Heikkinen (A) Gabe Benton (A) Kai Sorensen • Hamilton Middle School Andrew Statz • West High School John & Elizabeth Heiner Alexis Buchanan

39 40 and James Baldwin Joyce Schultze Mary Hugdahl Herb and Harriet Chen in honor of Anders Frank in memory of Carrel Pray Jennifer & Marty Chiaverini (P) Meg Skinner Margaret Jenks CUNA Mutual in memory of Carrel Pray and Andrew Johnson Charitable Foundation The Statz Family (P) Emil and Meutia Juni (P) Francis & Kathryn Deck (P) Kari Stokosa (P) Kathryn Kaminsky Ann & Phil Dettwiler Karen Stuesser and Rich Cornwell David and Cathleen Kinney in memory of Chuck Himsel in honor of the Cornwell Sisters Eva Marley (A) Russell and Nicole Dimond (A&P) Brian and Lisa Tennant Teague Mawer jan.

Robert Dott Bette Theisen Daniel O’Connor 28 June Doyle Alice and Obasi Torti (P) in memory of Carrel Pray in memory of Tom Doyle Susan & Jon Udell Lori and Steve Pierick Dan and Donna Fenn (P) John Joseph and Lisa Unertl (P) Albert and Laura Pinsonneault Kevin Gould Van Houten Charitable Fund Carol Pope in honor of Andrew Gould Julie and Leo Waner Preschool of the Emily and Dan Gruenewald in honor of Rachel Arts Nursery School Jeanne and Robert Hamers and Nicole Waner Gene Prine Jean Haughwout Waunakee Community in memory of Carrel Pray and Jon Keevil (P) School District Judith A. Roblee Sharol Hayner Paul Wertsch and Kay Heggestad in memory of Carrel Pray Lynn Hobbie and Kevin Little (P) Richard & Lois Rossmiller Gladys Howell Friend (up to $99) in honor of Leo Rossmiller Bradley Hutter (P) Anonymous Pat and Betsy Ryan Joelle Mortenson Hutter (P) Bert & Diane Adams in memory of Brigid Ryan Catherine Jagoe in memory of Carrel Pray Sarah Scallon (A) Beth Junge Emy Andrew and Peter Kleinschmidt in honor of Teague in memory of Carrel Pray Erica and Brian Schutter and Greg Mawer Attic Angel Place Inc. Sigma Alpha Iota Alumnae Emil & Meutia Juni (P) Libby and Kurt Bestul Dan and Kelley Sinclair Julie, Jim and Katie Koza (A) Liz Severson Shona Smith Amy and Jeff Kurka (P) and Raymond Clausen Trevor and Rose Stephenson William Lanz in honor of David S. Clausen Prudence Stewart in memory of Carrel Pray Donald Cooper Ella Tschopik (A) Daniel Lindner in memory of Carrel Pray Karen and Jeff Vandenberg (P) warning and Jamie MacAlister (P) Beverly Davis Emilie Walgenbach (A) Madison Mallards Royce Dembo Ms. Elyn L. Williams big voice inside Maple Grove Dental Diane Garton Edie Charlotte Woolf ! Conrad and Linda Marks Gloria Eichenseher in memory of Harold Woolf th Sam Marley (A) in memory of Carrel Pray 7 Annual Amy and Jon Matsumura (P) Karen P. Falkner In Kind Mt. Horeb Music Parents Michael & Jane Ferris Adams Outdoor Advertising Zana and Christopher Nevers (P) in honor of Martha Ferris Capitol Lakes BoyChoir Elizabeth Odders-White (P) Kaitlin Fogg (A) DeWitt Ross & Stevens, S.C. Madison Festival Kathleen Otterson Cheryl Forcier and Brian Aizenstein Sean Michael Dargan Susan and Russell Pope Susan and Pete Frey Linda E. Gerke The Punswick Family Lona George Tom Greenhalgh For boys in grades 2-12 ` Saturday, Jan. 28, 2017 in memory of Carrel Pray Linda E. Gerke Lake Edge Lutheran Church Madison West High School 30 Ash Street, Madison, WI James and Jane Roeber in memory of Bert Johnson Richard S. Russell in memory of Carrel Pray Brett Gates & Kathy Goerman (P) 400 boys singing! Do not miss the free Festival Concert Jim & Carol Ross Haben Goitom (A) Note: This list reflects donations and in memory of Jeanne Ellen Fruit Katie Herlache (P) pledges received between April 16, featuring all of the festival choirs, the men of the Jenny Saffran and Seth Pollak (P) Young-joo Hong 2016 and December 1, 2016. Richard Schuch Ruth Horrall We regret any errors or omissions. Madison Choral Project and the boychoirs of the and Rebecca DeMarb (P) Please contact the MYC office with your corrections. Madison Youth Choirs in a choral extravaganza!

MYC provides one-of-a-kind music education and performance opportunities to SPFestival Concertfree and open to the public hundreds of young singers every year, while helping them “find their voice.” Help us “raise voices” by making a tax-deductible gift today. Visit madisonyouthchoirs.org for more information. To donate, call 608-238-SING (7464), or visit madisonyouthchoirs.org Hosted by Madison Youth Choirs, in partnership with Madison Metropolitan School District. We prdly suppt Madis Yth Ch rs.

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